Al Quinn

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Where we left off: The Langley crew set up a plan to draw the bomber out of hiding, Quinn shot Carrie to stop her from blowing their cover, and Saul took a trip down South to say hello to Brody.
"One Last Time" In this week's episode, Brody hogs all of the camera time with his withdrawal symptoms, while Carrie stands idly by, presumably waiting for the perfect moment to tell him that she’s pregnant with their maybe child. (Unfortunately, she never does tell Brody that little gem of information, even though the Downton Abbey lover in me kept on shouting at the TV: "Carrie, tell him he's probably the father of your unborn child. Do it, Carrie!" Oh well, I’m crossing my fingers for the next episode.)
After bringing Brody back to the states in a deathly state of health, Saul somehow manages to convince Carrie that the best scenario for everyone is for her to get Brody to once again be a double agent. Saul's dream plan to change the Middle East forever — nice, casual plan, Saul — is for Brody to head back to Iran, assassinate the head of the Revolutionary Guard (which will allow Javadi to move up the chain of command), and then get his U.S. Marine-al Qaeda ass the hell out of there. Because Carrie is just as crazy as Saul (and Homeland's writers), she agrees to the plan. Although she's probably only doing it so she can reach out to Brody in the hope that her gentle touch will evoke months of memories of passion, terror, and insanity — what every man wants while they’re going through withdrawal after months of being caged up in Venezuela.
While I was hoping that the return of Brody would help bring Homeland back to its roots, all it did was flop. Stacked up against last week's episode of espionage, shootings, and turning higher-ups in the Iranian government, the focus on Brody was barely entertaining, and, at some points, completely annoying. He spends over half the episode hitting his head and scratching his arms while he's going through withdrawal, and it gets boring after approximately five minutes. Additionally, Homeland seems to have not-so-successfully crammed four episodes worth of plot progression into one 60-minute chunk. At this point, we're all well aware that Saul is on a tight time schedule to advance his CIA agenda before he's ousted from the agency, but having Brody be re-turned in one episode is just too rushed. We need time to readjust to his return, and to his crazy eyes. (Also, using Brody as an agent in Iran seems like the dumbest idea ever. Saul might be losing it.) Hopefully, next episode will be a tad more realistic, a pinch less rushed, and totally filled to the brim with baby talk. Carrie, give us a ring when your baby registry is all set up.
When Carrie Should Tell Brody She's Pregnant: - While he's propelling into Iran.- While he's being questioned about his loyalty.- When he's just about to shoot the head of the Revolutionary Guard.- While he's sleeping so he can’t really hear her.- When he (maybe) comes back to the U.S. (Hopefully as soon as he gets off of the plane.)
Highlight of the Episode: Mira's lover is in cahoots with Senator Lockhart and Saul calls Lockhart out on it so he can use the information as leverage and get a few more weeks of being director of the CIA. The only move that could have made the scene better was if Saul had karate-chopped Lockhart in the face like he did to Javadi.
Upset of the Episode: Dana reappeared as a motel maid. But on the positive side, she told daddy dearest that she never wants to see him again. Although we all know that angsty Dana doesn’t really mean that.
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This week’s episode of Glee, was absolutely, 100 percent ridiculously wonderful. I have a lot to say, so I’m not going to waste any more of your precious Glee-loving time with a long intro. From cold feet to hot bedroom scenes, I’m here to catch you up on everything you may have missed and more in, “I Do.”
So Here’s What You Missed On Glee
Pre-Wedding Craziness: The episode opens in the most perfectly wonderful way: Finn and Rachel are together! (Side-Note: Currently writing my thank you notes to cupid for bringing these two together for Valentine’s Day. Who needs love when you can obsess over a fictional couple that lives in your TV screen, amiright?) The Lima Bean is decked out in Valentine’s Day décor and a distraught-looking Finn thanks Rachel for agreeing to meet with him.
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Rachel launches into an explanation of why Brody is not there with her, but Finn quickly cuts her off, admitting the one thing that made millions of Gleeks gasp last week: “I kissed Miss Pillsbury.” A surprisingly cool and compassionate Rachel calms Finn down and says, “What you did, it wasn’t great. But I get it, you were confused and lonely and I’m sure that knowing that Brody and I are living together, it set you off.” To which Finn snaps, “Not everything is about you.” Rachel advises her former flame to channel his acting skills, keep his mouth shut and be the best best man he can for Mr. Schue. (Side-Note: Oh my God it’s only been two minutes and this episode is already amazing!)
Emma’s inner anguish is pouring out as she is trying to figure out the seating chart for the wedding, when Finn enters her office. Emma is in a full-blown OCD panic and tells Finn that he needs to “get over it” and pretend like nothing happened. “Look, when I get on that alter and I make my solemn vow for the second, and I hope the very last time, standing right behind my husband will be his best man. That’s you, the guy who thought it was okay to kiss me a week before my wedding. The guy who is forcing me to lie to my fiancé. And if you really want to help me then just keep a wide berth and keep your mouth shut.” (Side-Note: Holy crap! I get that you’re freaking the eff out right now Emma, but I’ve just got to say it: you didn’t look that upset the second after Finn’s lips touched your last week. And no one can blame you, have you seen that tall glass of sexy?)
Will obliviously enters the room and whisks Finn away to glee club practice, leaving Emma alone and shaking like a tiny Chihuahua. Will announces to the New Directions that he’d like them to be the entertainment at the reception and asks Finn to sing for him, in lieu of giving his best man speech. (Side-Note: That’s great that you want your students to perform, but come on Will — open up that wallet and pay for a deejay. Let the kids enjoy your wedding.)
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Jarley is walking down the hall and Marley is looking like she’s about to pee her panties with excitement. She presents Jake with an early Valentine’s Day gift — a pair of homemade and totally awesome typewriter button cufflinks — and scampers off to class with a spring in her step and a smile on her face. Ryder realizes that Jake needs some help coming up with the perfect gift for his girl, and promises to help his best bro give Marley the best Valentine’s week ever. (Side-Note: Um, hi Ryder. Here’s my heart. I just really really want you to have it. Mmkay thanks bye.)
An hour late and one spray tan later, Rachel meets Finn in the auditorium to help him find the perfect best man song. (Side-Note: No Rachel, you’re doing it wrong! Getting sprayed with cold orange, goo is not a way to spend your afternoon. Singing with your hot ex-boyfriend is how you should be spending your time. Sigh. When will you learn?)
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To calm Finn’s worries, Rachel suggests that they perform a duet at the reception. Finn unleashes a devilish smile and says, “I think the real issue here is whether or not you can handle singing with me, we do have some pretty intense musical chemistry.” Rachel then admits that Finn looks really cute, bites her bottom lip, and says that she’ll pick out a song. (Side-Note: Don’t try and hide it Rachel, we all know what you’re thinking…)
Over in Mr. Schue’s history class (Side-Note: Did anyone else forget that he stopped teaching Spanish?) Ryder is looking particularly squirmish. Jake then enters the room in a bright red, ruffly tux, and announces that he is there to sing Marley one of her favorite songs. The music starts, the other boys arrive in their matching suits, and Jake then serenades Marley with a lovely rendition of “You’re All I Need To Get By.” (Side-Note: The way Jake kisses Marley on the cheek is seriously swoon-worthy. And to all of you Glee-bees who are wondering: Yes, Jacob Artist is just as sweet and adorable in person — if not more so.)
NEXT: Cold Feet and Wedding Day Craziness!
Wedding Day Craziness: It’s the day of the wedding! While we are waiting for the ceremony to start we see a quick yet sweet Brittana wave/smile, and Santana then launches into one of her world famous rants about how much Valentine’s Day sucks. Quinn then sparks into some complaining of her own. “You know what I hate? Men. Every single one of them is a pig except for maybe Mr. Schue and Al Roker. And you know what, you were right, I do let men define me, but not anymore.” (Side-Note: Woo hoo! You go Quinn! Question: where did you get your jacket because it needs to be in my closet ASAP.)
Artie meets Betty, Emma’s niece and fellow wheel-chair bound babe. However, unlike Artie — aka the sweetest thing on the planet since cherry pie — Betty is rude, condescending and conceited. “I’m blonde, captain of the cheerleaders at my high school and I’ve got this going on,” Betty quips while grabbing her tatas. (Side-Note: Way to keep it classy, Betty.)
Meanwhile Klaine is making out in the backseat of a Prius. (Side-Note: GAAAAHHH! I’m so excited right now! I just ran around my apartment and did a happy dance complete with booty shaking and 2-3 shimmys. I love these two so much it hurts!) Just as things are getting hot and heavy, Kurt asks, “Wait this doesn’t mean that we’re back together right?” To which Blaine replies, “This is just bros helping bros.” (Side-Note: Label it whatever you want, but I’m calling it euphoria.) Mercedes then interrupts the back-seat sexytimes and says that she needs her “arm gays” to escort her into the wedding. (Side-Note: No! *stomps my feet like a two-year-old* Go away Mercedes! They’re busy!)
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Over in her dressing room Emma is officially 100 percent freaking out. And to make matters worse, Sue enters the room wearing an exact replica of Emma’s wedding dress. Emma looks like she’s about to pass out and says, “Sue I feel really scared, I feel really overwhelmed, I feel like I can’t think and I’m really worried that this isn’t going to work.”
Sue is absolutely no help and only reaffirms Emma’s fears that the wedding is a bad idea. (Side-Note: Someone needs to give Emma a Xanax, a shot of tequila and, a slap across the face right now. On the other hand, Jayma Mays’ acting is once again flawless, I literally feel anxious and sick to my stomach right now because her she is so damn convincing. Kudos to you, pretty ginger.)
Will and Emma then launch into one of the strangest yet amazing songs Glee has ever done, “Getting Married Today.” Emma is talking a mile a minute, but here’s the only line you need to hear: “But I thank you all for the gifts and the flowers. Thank you all, now it’s back to the showers. Don’t tell Will but I’m not getting married today.” Emma runs out of the back door or the church in a panic, flags down a cab, and breaks down hysterically crying in the backseat of her getaway vehicle. (Side-Note: That was the most stressful two minutes of TV I have ever seen. Ever. Give Jayma Mays all of the awards from now until eternity because that was pulse-quickening perfection.)
Becky is pelting the crowd with rose petals as she stomps down the aisle, and the music quickly halts when the door opens and Sue begins to walk to the alter. (Side-Note: When Brittany snapped a pic and mouthed, “You look so good!” to Sue, I pretty much died from laughter. I know that this is supposed to be a somber moment, but goodness gracious that cheerio can still deliver the best one-liners. Ever.) Will looks dumbfounded and Sue then utters four heartbreaking words, “Emma’s left the building.”
Finn is trying to fish information out of Will as to why Emma would take off. Will, looking like he is three seconds from sobbing, just says, “She didn’t have to tell me anything. I left her with all this stress and planning. She was losing it, and I kept telling her that it was her usual obsessiveness.” Santana then enters the church asking about the plan for the reception, and Will encourages the group to still have the party. “Just because I ruined my Valentine’s Day doesn’t mean I have to ruin all of yours too.”
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At the reception, Bram is awkwardly dancing together, so Santana and Quinn quickly leave the dance floor and head to the bar with their fake IDs for a glass of wine and a quick venting sesh. Santana tells her friend, “You know, we always were two ends of the same bitch goddess spectrum, maybe that’s why we love each other so much and slap each other." And Quinn then compliments Santana on how good she looks in her dress. (Side-Note: Ummm, okay. This is strange.)
Ryder and Jake are sitting at the reception, and the Glee writers are slowly but surely flipping the switch. Jake says that Marley has “Puckerman fever” and he only needs one more romantic gesture to make it fatal. Ryder looks distraught and says, “Do you think that maybe one of these gifts should be your idea?” (Side-Note: That’s funny Ryder. You’re the one who hijacked Jarley’s Valentine’s Week so you could inadvertently show Marley how much you love her. You told Jake that his ideas were dumb and that you had “a bunch” for your friend. So, do me a favor and stop trying to make Jake look bad right now.)
Ryder then hands Jake a heart pendent that he bought at the mall and Jake responds with, “You are my hero! I am so getting laid tonight." (Side-Note: Thank you Glee writers for taking a super sweet character and trying to squash it into the ground. I get that you want to create a love triangle, but can you try to be a bit more subtle?)
Kurt and Blaine hit the stage and we get to see an awesome ’80s inspired performance of “Just Can’t Get Enough.” (Side-Note: Yes! I haven’t been this excited since “Silly Love Songs.” Their chemistry on stage is absolutely electric, and for a second I totally forgot that they ever broke up.) Tina is once again acting ridiculously possessive over Blaine and practically hurdling daggers at Kurt with her eyes.
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After the song, Tina stomps over to Kurt and unleashes her inner crazy, going on a rant about NYADA, Vogue.com, cheating, and wanting to be loved back. (Side-Note: Oh my gosh Tina, go away! Go find Mike. He’s there randomly dancing in the background, not saying anything. Go make it so it’s not a complete and total waste that Glee asked him to come back for this.) Kurt then calls Tina out. “Okay Tina, I say this with total love, but the moment we all saw coming is finally here. You’re a hag, you’re hagged out, you’re in love with Blaine and it’s creepy!” (Side-Note: Kurt is just killing it this year! And the fact that he said that Tina vapo-raped his ex-boyfriend makes me love him even more.)
Rachel approaches Finn and reassures him that what happened that day was not his fault, “I’ve seen every runaway bride movie that there is, and I know that when the bride runs away, it’s never because of a random kiss. It’s because she knew deep down inside that it wasn’t right.” The two then exchange some mischievous smiles and get up to dance with the rest of the New Directions.
On the dance floor, Artie approaches Betty and says that he knows that she puts on this mean girl façade to hide the fact that she’s upset about being in a wheelchair, but yet he’s still oddly compelled by her. He convincers her to share one dance and they burn rubber out on the dance floor.
NEXT: Lots and Lots of Sex and The Episode’s Best Moments
Post-Wedding Craziness: Even though there is no bride, Sue announces that time has come to toss the bouquet, she and invites all the single ladies to gather round. The crowd of eager females includes, Quinn, Santana, Sam, Rachel, Tina, and a bunch of random extras who are overly excited to be there. The bouquet soars through the air and magically lands in Rachel’s arms, and Finns looks at her with the cutest smile on his face.
Finn catches Rachel on her way out of the restroom and notes that typically it’s only the single girls who line up to catch the bouquet. Rachel quickly assures him, “I am single,” and then explains that she and Brody had a “mature conversation” and decided not to put any labels on anything. (Side-Note: Listen up little ladies! When a guy doesn’t want to give your relationship a label, it means he wants to keep you around, but still be able to flirt with other girls. If this ever happens, tell that loser tootles and move on!)
Throughout their heartfelt and sexually charged conversation, Finn is slowly and nonchalantly plucking the petals off a white daisy, (“She loves me… she loves me not…”) and giving a brilliant metaphor about how the Finchel relationship is like a flower. Right now it’s just currently going through Winter. (Side-Note: Oh. My. God. This is just too good I can’t handle it. I have all these warm feelings swimming around in my stomach right now, and the way that Finn is subtly plucking off those petals makes my heart beat faster and faster.)
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Finn shows that he knows Rachel better than anyone else on the planet, and calls her out on her NYC Sex and the City-wannabe behavior: “I think that you’re lying to yourself, and I think the real reason that you can’t commit to Brody is because you’re still in love with someone else. You and I both know how this thing ends. I don’t care how or when, and I don’t care where you’re living or what dope you’re shacked up with. You’re my girlfriend.” (Side-Note: Finn Hudson: Out-shining all other men on TV since 2009.)
Finn then wraps up the world’s greatest love speech with this gem of a line: “We are endgame. I know that, and you know that.” (Side-Note: And so do the thousands of Twitter fans who devote each and every Friday to promoting their Finchel love. Sorry, just felt that that needed to be mentioned at some point. Love you guys!) Rachel says they need to go sing their duet and she snatches the last petal from the steam, which just so happened to land on “She loves me.”
Finn and Rachel sing a flawless version of “We’ve Got Tonight,” and all of the night’s couples — Jarley, Klaine, Quintana, Artie/Betty and Finchel — head upstairs to their respective hotel rooms.
So here’s how it all went down: Blaine is all smiles after their bedroom sesh, and it’s obvious that Kurt is trying to play it cool and brush their night off as no big deal. No worries, Blaine is not discouraged, and he knows that it’s only a matter of time before he and Kurt and perfectly placed back together. (Side-Note: Later hipster wannabe Adam!)
Quinn and Santana hooked up, and even though Quinn admits that it was a fun time, she’s not planning on switching sides for good. (Side-Note: I don’t like this. It feels unnatural and like a cheap, last minute tool to raise eyebrows and shock audiences.) Artie and Betty shared what seemed to be their first time together, and over in the Jarley room, absolutely nothing happened. It’s clear that Marley wasn’t ready, but Jake sweetly understood, kissed her hand and invited her downstairs for another dance.
Finn and Rachel made love, but rather than spending the night together, Rachel slipped out of the room with her bouquet in hand while her beau was still sleeping. (Side-Note: Finchel hooked up. On Valentine’s Day. All is right in the world.)
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Rachel is suddenly back in an overly-decorated heart-covered loft, and Brody not-so-subtly mentions that it took him “two whole days” to make this for her. (Side-Note: Bite me Brody. You taped some paper hearts on the wall and bought some flowers. Whoop-di-doo! If you ask me it looks like your trying to make up for the fact that you’re guilty of something. Hmmm?) Rachel and Brody begin kissing, but he stops her and asks if she kissed anyone else while she was gone. “You’re kissing differently.” (Side-Note: First of all that whole “kissing differently” thing is not real. And secondly, why yes Brody if you must know, Rachel was kissing her one true love. Sheesh.)
Brody makes it a point to tell Rachel that their whole “modern relationship” only works is they are completely honest with each other. Rachel kind of evades the answer but still lets Brody know that she and Finn hooked up. She then asks about Brody’s lonely Valentine’s Day and he reveals, “I stayed at home and watched weight-lifting videos.” (Side-Note: I totally called it! I told you all he was a tool. It’s beyond obviously that he is lying, but only a true douche would mask his indiscretions with an excuse that is so barf-worthy.)
We then see what Brody was really up to: He leaves a hotel room with his shirt half unbuttoned, carrying a massive wade of money in his hands and looking quite pleased with himself. (Side-Note: Ladies and Gleeks, it’s official: Brody is a hoe fo’ sho.)
Over in the halls of McKinley, Tina is apologizing to Kurt for attacking him like an obnoxious yappy dog at the reception. “I saw you up there singing with Blaine, and I saw the old legendary chemistry. I saw two soul mates rediscovering each other and I was jealous.” (Side-Note: Finally, the world’s most creepy crush is broken!)
Marley then approaches Ryder, and admits that the knew that her whole week of love was his idea, not Jake’s. She smiles, “Whenever you do that for someone for real, she’s going to be the luckiest girl on the planet.” Ryder responds, “It was for real,” and before Marley realizes what’s about to happen, Ryder steals a sweet kiss. (Side-Note: Dammit. I’m so confused. Who do I ship? Sigh. #Gleegirlproblems)
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The Final Five: In the teacher’s lounge, Mr. Schue is moping around, and a super-cutely dressed Finn launches into an inspirational speech about never giving up. “Somewhere out there, there’s a Miss Pillsbury running around who should already be a Mrs. Schuester.” Will is newly invigorated and he thanks Finn for being such an amazing best man/friend.
Artie’s new lady love Betty rolls through the halls and the two make plans for Saturday night, “When you’re rolling with Artie Abrams, anything can happen,” he brags. And just like that the final song of the night, Ellie Goulding’s “Anything Can Happen,” begins to play and the glee club dances around the auditorium stage.
Cut to NYC, and we see that Rachel is sitting in bed next to a sleeping Brody flipping through her planner with a terrified look on her face. She grabs a pregnancy test, waits the agonizing two minutes, and looks at the results. (Side-Note: Ugh! Rachel is preggers y’all, and if that nasty little sperm came from Brody’s grody male-escort penis then I’m going to fly to New York, find the guy who looks most similar to him, and unleash a world of crazy on some poor unsuspecting bystander. See you all back here in three weeks! Xoxo!)
Most Heartwarming Moment: Seeing Finn pluck those petals while Telling Rachel that no matter what, they are endgame.
Most Heartbreaking Moment: Watching Emma’s hysterical breakdown in the back of the taxi as she drives away from the church.
Quotables:
“All of you Glee kids have dated so incestuously that I can’t even remember who can tolerate who anymore.” —Emma
“I am so over this and it hasn’t even started yet. I’m clearly the hottest bitch in this lousy joint but I’m all alone, stuck here sitting with you.” —Santana to Quinn
“Well of course it isn’t going to work. You’re a weird bird-lady with a hallow pelvis and a OCD. And Will Schuester is a weepy man-child who’s greatest joy in life is singing with children and his best friend is 19.” —Sue to Emma
“Relationships are a lot like flowers. If you find the right seed, put it in good soil, give it water and sunlight. Bam. Perfect bud.” —Finn to Rachel
“We are endgame, I know that and you know that.” —Finn to Rachel
What did you think of this week’s episode of Glee? How are you feeling about Finchel? Klaine? Quintana? Wemma? That fact that Rachel could be pregnant?! Sing all your thoughts in the comments below!
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[Photo Credit: FOX]
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The following article contains massive spoilers (and not just like, "Estes acts like a d-bag" spoilers) about the Season 2 finale of Homeland.
In 2011, United States Marine Nicholas Brody was rescued from an underground terrorist base in Afghanistan, after having been captured and held prisoner by the forces of al-Qaeda for eight years. Brody, as he is affectionately called by his wife and friends, was returned home to America, where he would reunite with his family, earn notoriety as a nationwide hero, and accelerate professionally to the level of congressman and vice presidential hopeful. But there was a side to Brody that the world didn't see, even with the influx of reporters and public figures storming his home from every corner of the Virginia countryside. What CIA Agent Carrie Mathison, her associates Saul Berenson, freelance surveillance experts Virgil and Max, and the highly addicted Homeland audience began to suspect: is this dude a terrorist? Long story short, yes. At least, he was.
Sunday night brought the second season of the Showtime series to a close, also seeming to put a lid on all of our distrusts regarding Brody. The episode concluded with a gigantic explosion, which took the lives of dozens of attendees of Vice President Walden's funeral, including his wife and teenage son, and CIA Director of Counterterrorism David Estes. Absent from the event, quite conveniently, are Carrie Mathison and Nicholas Brody, who sneaked away to have a romantic foray just in time to avoid the wrath of the bomb... which was detonated from within Brody's car.
If you didn't catch the episode, the above synopsis will probably suggest with near certainty that Brody was responsible for the act of terrorism (which was followed by a television broadcast of an al-Qaeda message proclaiming patronage of the explosion). But Homeland seems to want us to think that our pursed-lipped hero is in fact innocent. The final moments of the episode had Carrie sending Brody off to the freedom of Canada (where no one will ever find him!), and set our favorite secret agent off on a quest to prove her inscrutably beloved soldier's innocence — such, we assume this to be the course of action for Season 3/the show's Lifetime movie adaptation: My Boyfriend Is Not a Terrorist: The Carrie Mathison Story.
But something seems... missing. We were invited into the world of Homeland on the premise of a huge-scale whodunit. For the majority of Season 1, fans weren't sure what exactly was up with Brody — was he really a terrorist? Was Carrie Mathison, in fact, crazy? And what was lurking beneath Saul Berenson's beard? All mysteries with which we happily engaged. But Season 2 put a lot of this ambiguity to rest, instead allowing us to watch idly as one crazy, adrenal situation after another played out onscreen. And this seems to be the way Season 3 is setting up to introduce its formula.
What we really need from the show, however, is a return to this active-viewing form: the "Is Brody a terrorist?" game that was as fun and engrossing as a round of international Clue. Of course, that's just one opinion. A few members of the Hollywood.com staff chimed in to give their take on directions that would best suit Homeland's third season:"Despite what the showrunners may say, the Season 2 finale still had me doubting Brody's intentions as well as his feelings for Carrie. Season 3 needs to get rid of this question mark once and for all by telling us definitively whether Brody is a good guy or a bad guy. Because this flip-flopping business is exhausting. Also, the 'Carrie is alone and crazy' card is so thoroughly played out, in order to hold my interest Season 3 needs to give Carrie a team. Let's see a Brody Berenson Mathison Quinn coalition (a la Sterling Cooper Draper Pryce). And bring back Galvez!" - Abbey Stone
"If Season 3 went back to exploring Carrie's work on the ground floor (especially now that Saul is in charge), not just her trying to cover up for Brody, the show might have a shot at getting back to the fascinating, intelligent show about terrorism that it it was when it started out." - Aly Semigran
"I think that Season 3 of Homeland should mostly be about Dana. She needs to get a new haircut and change her name so that no one knows who she really is. I think we should see her go to college and meet a nice boy. She has a hard time trusting men, considering that her father is now an exposed terrorist and that her last boyfriend ran over a lady and left her dead body in the street and then he died in a CIA bombing that her father may or may not have orchestrated. But she meets a guy and they fight and break up and then they get back together and she wears a lot of black... Oh, wait, that's what I DON'T want Season 3 to be about." - Brian Moylan
"Homeland would benefit from jumping ahead 100 years into the future. Don't worry — they invented technology to keep Carrie and co. around. So they'll still be trying to figure out if Brody is a terrorist or not, but now they'll have laser guns and teleportation machines." - Matt PatchesWhat are some of your ideas about where the show should go from here?
[Photo Credit: Kent Smith/Showtime]
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A rule of thumb for all Boardwalk Empire characters: don’t make plans. Anytime someone announces the pursuit of any sort of aspiration, he’s bound to wind up six feet under by the end of the very same episode. Meeting this fate on the latest episode of the series is Owen Slater — a character so debonair and likable, albeit shifty and amoral, that it’s almost a miracle he’s lasted this long on the show. When we last left Owen, he and the enamored Margaret were vowing to flee away together, escaping the life that Nucky has built for them. Right up until he shows up in the Thompsons’ doorway, dead inside a box (courtesy of Joe Masseria), Owen was asserting himself dedicated to that very plan… although who can tell if this guy is ever actually speaking the truth?
Let’s backtrack. Nucky rallies his inner circle (Owen, Eli, and Mickey) to pull the trigger on the antagonistic Masseria, rally the help of Johnny Torrio, and set up shop in Pennsylvania to start work on their own distillery, respectively. We don’t see how Eli’s and Mickey’s missions play out, but we do see what the cruel fates have in store for Owen. Masseria is tipped off to his approach by an especially traitorous pair of entrepreneurs: Lucky Luciano and Meyer Lansky, who, in hopes of striking a deal with Masseria to fund a heroin operation, give up info about their “pal” Nucky’s plans to do away with the Mafia boss.
So, Masseria beats Owen to the punch… and all this after Nucky’s right-hand man has just learned that he’s going to be a father: Margaret is pregnant with his child. And given her mass hysterics upon glance of Owen’s dead body, Nucky is likely onto the fact that there was something going on between the two… although, really, did he think their marriage was going just fine before this?
Business as usual for Bobby Cannavale’s mad hatter. Something goes wrong in his operation (a dozen or two bottles go overboard and wash up on the Atlantic City shores during delivery), someone speaks out of turn when trying to be helpful, and he goes into a blinding, homicidal rage. It’s not shocking anymore, Boardwalk. Watching Rosetti is just like living next door to a crying baby — always the same nonsensical routine, and we just want to tell him to shut up and get over it already.
But on the opposite side of the spectrum is Richard, who, although living in a proverbial soap opera at this point, is always invigorating. Richard’s girlfriend Julie encourages him subtly to take the rearing of young Tommy into his own hands, and then invites him back to her place… where her belligerent father insults them both, earning Richard’s violent (but controlled) wrath. If and when Richard is going to institute a move of his own, with Julie and Tommy along for the ride, is uncertain. But hopefully any plans our favorite World War I veteran makes won’t leave him in a box on somebody’s doorstep. We’d miss you most of all, Richard.
Speaking of plans gone awry, hardly any time at all has passed since Van Alden has gotten himself into the bootlegging business before trouble heads his way. Thinking he’s made a faithful customer in a Norwegian barkeep, Van Alden is ratted out to the Johnny Torrio union and manhandled all the way to a meeting with an unhappy Al Capone, who, this season, is quickly rising to the prominence that history has pinned to his lapel.
And finally, poor Jess Smith. Innocent, good-natured, potentially brain damaged Jess Smith, who takes himself out of the picture after finding out that Harry Daugherty, his own childhood friend and closest confidant, was willing to have him killed as not to prompt any more trouble professionally. Little does he know, Daughtery is next… at least as far as Nucky’s schematics would read.
It seems like everyone close to Mr. Thompson finds him or herself on the wrong side of this war. This season alone, Nucky has lost his business associate (Manny Horvitz), his girlfriend (Billie), and now his right-hand man. Who could be next — Eli? Margaret? Please not Eddie.
[Photo Credit: HBO]
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Homeland has been relying on a lot of melodrama lately, and while I always appreciate some high-stakes emoting, there have been moments when things start to spill over to the silly side; most notable, from last week, the entire shootout ordeal and the extended car accident subplot. This week’s episode takes a lot of those borderline outrageous moments and centers everything once again, ending in some of the most sure-footed plotting I’ve seen on television lately. I think I gasped out loud at the weirdly easy complexity of it all.
The episode starts with Roya hanging out on along Brody’s running path; Roya is wearing a slouchy morning cardigan and looking super upset, which I guess is code that she’s ready for a meeting. Carrie is listening in on the whole thing, as Carrie will do, while Roya and Brody fight over the aftermath of the Gettysburg shootout, seeing as six agents are dead and the attack is all over the news. Scary. Roya is trying to keep Brody on her path towards higher power, but Brody is getting antsy. Duh.
Saul is visiting your good old local maximum security prison, where he finds Eileen – Saul drove from Mexico to DC with Eileen last season (Homeland flashed briefly to the episode during the “previously on” segment, which is always so nice of them), as she was an important piece of the whole terrorist puzzle that we’re always dealing with. The guard at the prison calls Eileen a “spitter, hitter, sh*tter,” which is just really funny. However, Eileen looks absolutely awful; Saul gets the poor woman released from her chains, and the two enter an interrogation room with some nice sunlight. Saul needs Eileen’s help with the mission at hand – he wants to know if she can identify the mysterious man that led the Gettysburg attack, but Eileen wants a cell with a window before she agrees to anything. The direction of this episode is absolutely gorgeous; there are some really beautiful shots, especially the angles used in the interrogation room and some upcoming caravan drama…
Quinn is alive and well in the hospital, because as I said last week, you cannot kill your most attractive season two recurring character after a three-episode arc. I think that’s a legitimate rule of television. Unless you’re Game of Thrones, where I’m afraid that the entire cast will just be killed every single episode. Carrie and Quinn gather the intel that there is no nuclear residue in the Tailor’s shop from Gettysburg, but that crate probably contained enough C4 to blow up a massive structure. Quinn, realizing he is the most attractive character on the show, hops out of his hospital bed and provides a side butt shot. It was bound to happen sooner or later.
That upcoming caravan drama! Finn and Dana are in the back of a limo en route to a nice white male fundraiser, where Dana comes clean that she went to the car accident woman’s funeral and that she wants to come all the way clean to the cops. Finn isn’t on board with this entire plan and just looks really bored in general, but Dana convinces the cute little bugger. I don’t think this relationship is going to work out, you know? In a different limo, Jessica and Brody and talking about Mike and the Tom Walker whispers; Jessica is wearing a fantastic dress, and Brody technically tells Jessica that he killed Tom. I say “technically” because Brody made up a lot of details and promised he was telling the entire truth to his skeptical/manic wife.
Some man named Rex owns the house that is holding the fundraiser, where Finn is clearly looking shifty from second one of arriving. Also, the Vice President’s wife, Cynthia, offers everyone lemonade; I would want some serious hard alcohol if I was about to walk into an entire epic day of fundraiser family weirdness. Brody steps out for a second to call Carrie – “How does my wife know about Tom Walker?” Carrie is going to deal with Mike, Estes is going to keep an eye on Brody during the fundraiser, and Quinn is going to continue taking a lot of prescription pain meds. Everything’s covered! For now!
Eileen has zero trust in any human beings, so Saul needs to show her that she has a windowed cell before she says a single word. That makes sense, as I would have the same bitchy attitude if I were in maximum-security prison. Saul meets with the warden in an attempt to speed up the whole window process, but the warden is a huge ass and basically questions Saul’s power/important. Bad move, bud. Saul will go around the fool, because Saul has all of the military clearance in the entire history of the world, but it will take more time.
Carrie meets up with Mike on a park bench thing, where Carrie tells Mike that he needs to “cease and f*cking desist” before he seriously screws with a matter of national security regarding Brody and Tom Walker. Or, actually, regarding Jessica. Carrie bonds with Mike because it is obvious that Mike is still madly in love with Jessica. Seeing as Carrie is still madly in love with Brody (I think? Can we confirm? Are we being played here?), the two have kind of maybe a lot in common. I don’t see them ever being friends however, so I won’t push Carrie &amp; Mike filling the Paris &amp; Nicole roles, respectively, to headline a reboot of The Simple Life.
Brody is being ogled by some awful woman in all pink at this fundraiser pool party (the fundraiser gets more confusing the longer the episode plays out); this woman looks like she is maybe related to Molly Shannon and was an extra in some direct-to-video Legally Blonde sequel. Leave Brody alone! He just survived life as a prison of war after he converted to Islam and become a sleeper cell! Elsewhere at the estate, the VP and Estes are screaming about “lunatics on the loose with their goddamned explosives,” and we all know that this is going to end poorly. Brody is suddenly in the middle of a horse barn with Rex – Rex confesses that he thinks Brody will be the President of the United States soon enough, and that is basically the only reason he is supporting the Walden/Brody ticket. Brody is all “I’m not the man you think I am, blah blah,” but no one is listening to him. I wish people would start listening.
Carrie is waiting in the trees behind the barn, and Brody comes to find her. I HATE THIS. Carrie and Brody and basically doing the dirty in the middle of the woods; however, we must remember that Quinn told Carrie to make sure Brody felt powerful and in control, as everyone is getting nervous of Brody’s crazy outbursts. The sexual encounter ends with a classic Brody moments – “I do feel used, and played, and lied to… but I also feel good. Two minutes with you and I feel good. How do you pull that off?” And it’s not fully a compliment to Carrie. Brody and Carrie have maybe the most terrifyingly exciting relationship on television right now.
Finn is wandering around the party chugging forgotten, which is what I would also be doing at this point in the evening because this party is horryfing. Dana is acting like a prissy little whore, screaming at Finn that they need to come clean. Hey, Dana – why don’t we wait till all of these rich political fundraiser fools leave before we start discussing your accidental murder? Thanks! Unfortunately, Cynthia and Jessica overhear the spat, and it all comes out in the open. Great work, Dana.
We must remember the poor folks that couldn’t make it to the fundraiser – Saul is still waiting around the prison, waiting to hear the okay from the Attorney General so Eileen gets her room; Saul brings a nice picnic of wine, cheese, and bread for Eileen. So sweet. Eileen mentions Saul’s wife, Mira, and we’re reminded that she is living in Mumbai and Saul’s heart is always bleeding. Saul finally gets the green light, Eileen reviews the documents about her room transfer with some nice glasses that Saul lends to her, and Eileen provides a name for the man – Mohammed Al-Gamdi (spelling is, umm, the best I could do – I’m sorry).
Quinn is in charge of the team to nab Mohammed, who lives near Newark; when the FBI raids the home of this shady characters, it turns out that Mohammed is a nobody musician that Eileen used to know from her family’s old security team. So…Eileen? Turns out the poor sad soul used the entire ploy so that she could kill herself, slitting her wrists with the shards of Saul’s glasses after finally getting her window. Saul let his emotions get the better of him, and the CIA team is floundering.
Brody goes for a midnight swim while Cynthia and Jessica get all of the murder details from the kids; Jessica is ready to take the information to Metro North, but Cynthia states she will take care of the drama. Obviously, Cynthia and the VP will make sure it looks like the thing never happened. Jessica is furious, and explains the situation to Brody; Brody decides to take Dana to Metro North himself. Finn and Dan maybe possibly break up forever, as Finn reveals the reason he liked Dana so much was because she didn’t understand the dark world of politics. Everything is politics.
Brody and Dana are walking up to the doors of Metro North, but Carrie is blocking their path. CARRIE. Estes made Carrie take over the scene, as Carrie had to make sure Brody realized the severity of the deed he was about to commit – if Brody called in the crime, he would break ties with Walden and therefore end his campaign for Vice President; if Brody lost his influence as potential leader of the United Statues, Abu Nazir would no longer need Brody and the entire CIA mission to find Nazir would fall apart. SURE-FOOTED PLOTTING! Homeland took some minor drama of a supporting character and wrapped it around the main arc of season two, woven so tightly that the politics surrounding Dana’s car melodrama is now crucial to the forward momentum of… everything. Oh, Homeland! I am so sorry that I ever doubted your greatness! POLITICS!
[Image Credit: Kent Smith/Showtime (2)]
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It was the trickle of pee heard around the world. Cannes attendees were aghast and/or amused an infamous scene from The Paperboy that shows Nicole Kidman urinating on Zac Efron; this is apparently a great salve for jellyfish burns which were covering our Ken Doll-like protagonist. (In fact the term protagonist should be used very loosely for Efron's character Jack who is mostly acted upon than active throughout.)
Lurid! Sexy! Perverse! Trashy! Whether or not it's actually effective is overshadowed by all the hubbub that's attached itself to the movie for better or worse. In fact the movie is all of these things — but that's actually not a compliment. What could have become somethingmemorable is jaw-droppingly bad (when it's not hilarious). Director Lee Daniels uses a few different visual styles throughout from a stark black and white palette for a crime scene recreation at the beginning to a '70s porno aesthetic that oscillates between psychedelic and straight-up sweaty with an emphasis on Efron's tighty-whiteys. This only enhances the sloppiness of the script which uses lines like narrator/housekeeper/nanny Anita's (Macy Gray) "You ain't tired enough to be retired " to conjure up the down-home wisdom of the South. Despite Gray's musical talents she is not a good choice for a narrator or an actor for that matter. In a way — insofar as they're perhaps the only female characters given a chunk of screen time — her foil is Charlotte Bless Nicole Kidman's character. Anita is the mother figure who wears as we see in an early scene control-top pantyhose whereas Charlotte is all clam diggers and Barbie doll make-up. Or as Anita puts it "an oversexed Barbie doll."
The slapdash plot is that Jack's older brother Ward (Matthew McConaughey) comes back to town with his colleague Yardley (David Oyelowo) to investigate the case of a death row criminal named Hillary Van Wetter. Yardley is black and British which seems to confuse many of the people he meets in this backwoods town. Hillary (John Cusack) hidden under a mop of greasy black hair) is a slack-jawed yokel who could care less if he's going to be killed for a crime he might or might not have committed. He is way more interested in his bride-to-be Charlotte who has fallen in love with him through letters — this is her thing apparently writing letters and falling in love with inmates — and has rushed to help Ward and Yardley free her man. In the meantime we're subjected to at least one simulated sex scene that will haunt your dreams forever. Besides Hillary's shortcomings as a character that could rustle up any sort of empathy the case itself is so boring it begs the question why a respected journalist would be interested enough to pursue it.
The rest of the movie is filled with longing an attempt to place any the story in some sort of social context via class and race even more Zac Efron's underwear sexual violence alligator innards swamp people in comically ramshackle homes and a glimpse of one glistening McConaughey 'tock. Harmony Korine called and he wants his Gummo back.
It's probably tantalizing for this cast to take on "serious" "edgy" work by an Oscar-nominated director. Cusack ditched his boombox blasting "In Your Eyes" long ago and Efron's been trying to shed his squeaky clean image for so long that he finally dropped a condom on the red carpet for The Lorax so we'd know he's not smooth like a Ken doll despite how he was filmed by Daniels. On the other hand Nicole Kidman has been making interesting and varied career choices for years so it's confounding why she'd be interested in a one-dimensional character like Charlotte. McConaughey's on a roll and like the rest of the cast he's got plenty of interesting projects worth watching so this probably won't slow him down. Even Daniels is already shooting a new film The Butler as we can see from Oprah's dazzling Instagram feed. It's as if they all want to put The Paperboy behind them as soon as possible. It's hard to blame them.

The first and most important thing you should know about Paramount Pictures’ Thor is that it’s not a laughably corny comic book adaptation. Though you might find it hokey to hear a bunch of muscled heroes talk like British royalty while walking around the American Southwest in LARP garb director Kenneth Branagh has condensed vast Marvel mythology to make an accessible straightforward fantasy epic. Like most films of its ilk I’ve got some issues with its internal logic aesthetic and dialogue but the flaws didn’t keep me from having fun with this extra dimensional adventure.
Taking notes from fellow Avenger Iron Man the story begins with an enthralling event that takes place in a remote desert but quickly jumps back in time to tell the prologue which introduces the audience to the shining kingdom of Asgard and its various champions. Thor (Chris Hemsworth) son of Odin is heir to the throne but is an arrogant overeager and ill-tempered rogue whose aggressive antics threaten a shaky truce between his people and the frost giants of Jotunheim one of the universe’s many realms. Odin (played with aristocratic boldness by Anthony Hopkins) enraged by his son’s blatant disregard of his orders to forgo an assault on their enemies after they attempt to reclaim a powerful artifact banishes the boy to a life among the mortals of Earth leaving Asgard defenseless against the treachery of Loki his mischievous “other son” who’s always felt inferior to Thor. Powerless and confused the disgraced Prince finds unlikely allies in a trio of scientists (Natalie Portman Stellan Skarsgard and Kat Dennings) who help him reclaim his former glory and defend our world from total destruction.
Individually the make-up visual effects CGI production design and art direction are all wondrous to behold but when fused together to create larger-than-life set pieces and action sequences the collaborative result is often unharmonious. I’m not knocking the 3D presentation; unlike 2010’s genre counterpart Clash of the Titans the filmmakers had plenty of time to perfect the third dimension and there are only a few moments that make the decision to convert look like it was a bad one. It’s the unavoidable overload of visual trickery that’s to blame for the frost giants’ icy weaponized constructs and other hybrids of the production looking noticeably artificial. Though there’s some imagery to nitpick the same can’t be said of Thor’s thunderous sound design which is amped with enough wattage to power The Avengers’ headquarters for a century.
Chock full of nods to the comics the screenplay is both a strength and weakness for the film. The story is well sequenced giving the audience enough time between action scenes to grasp the characters motivations and the plot but there are tangential narrative threads that disrupt the focus of the film. Chief amongst them is the frost giants’ fore mentioned relic which is given lots of attention in the first act but has little effect on the outcome. In addition I felt that S.H.I.E.L.D. was nearly irrelevant this time around; other than introducing Jeremy Renner’s Hawkeye the secret security faction just gets in the way of the movie’s momentum.
While most of the comedy crashes and burns there are a few laughs to be found in the film. Most come from star Hemsworth’s charismatic portrayal of the God of Thunder. He plays up the stranger-in-a-strange-land aspect of the story with his cavalier but charming attitude and by breaking all rules of diner etiquette in a particularly funny scene with the scientists whose respective roles as love interest (Portman) friendly father figure (Skarsgaard) and POV character (Dennings) are ripped right out of a screenwriters handbook.
Though he handles the humorous moments without a problem Hemsworth struggles with some of the more dramatic scenes in the movie; the result of over-acting and too much time spent on the Australian soap opera Home and Away. Luckily he’s surrounded by a stellar supporting cast that fills the void. Most impressive is Tom Hiddleston who gives a truly humanistic performance as the jealous Loki. His arc steeped in Shakespearean tragedy (like Thor’s) drums up genuine sympathy that one rarely has for a comic book movie villain.
My grievances with the technical aspects of the production aside Branagh has succeeded in further exploring the Marvel Universe with a film that works both as a standalone superhero flick and as the next chapter in the story of The Avengers. Thor is very much a comic book film and doesn’t hide from the reputation that its predecessors have given the sub-genre or the tropes that define it. Balanced pretty evenly between “serious” and “silly ” its scope is large enough to please fans well versed in the source material but its tone is light enough to make it a mainstream hit.

There are few people in showbiz with as much experience and respect as Dino de Laurentiis. He started in the business humbly as a prop master and actor in Italy and rose to become one of the most successful and celebrated producers in Hollywood history. Today, the world mourns the loss of one of the progenitors of the modern movie mogul as de Laurentiis heads to the great studio in the sky, but I thought it'd be nice to honor his career by highlighting a few of his most notable films.
Bitter Rice (1949)
A gripping drama and exemplary case of the majesty of Italian neo-realist cinema, Bitter Rice centered on a love "rectangle" between a pair of criminals and another set of individuals with whom they become involved with both romantically and criminally. Anchored by terrific performances, the film was nominated for an Academy Award for its writing, the first of many de Laurentiis films to garner international acclaim.
La Strada (1954) -
A beautiful but heartbreaking tale of love in the unlikeliest of places and devastating loss, La Strada starred the great Anthony Quinn as Zampano, a traveling strong man who mistreats his female companion Gelsomina who was sold to him by the girls mother. He really loves the girl but is unable to express his emotion and eventually this, along with a morbid string of events, leads him to abandon her. The universal themes within this classic Federico Fellini film carried La Strada all the way to the 1957 Academy Awards, where it won the Foreign Language Oscar. It remains one of the most treasured pieces of art in the world.
Battle of the Bulge (1965)
De Laurentiis went uncredited as a producer on this WWII epic that starred Henry Fonda, Robert Shaw, Robert Ryan, James MacArthur and Charles Bronson. The story focused on the bloody conflict between Allied and Nazi forces for the major port city of Antwerp in the winter of 1944. Its narrative gave the point of view of an American intelligence officer and a German Panzer Commander. The film was nominated for a handful of Golden Globes and is one of the most beloved war movies of all time.
Danger: Diabolik (1968) -
Displaying incredible foresight, Dino was one of the (if not the) first filmmaker to acknowledge the potential of comic books as source material for feature films. He produced this adaptation, about a skilled thief who steals from the Italian government and lives a lavish lifestyle. Filled with suspense, sex appeal, action and adventure, Danger: Diabolik was a commercial success and a classic film that has influenced many modern heist films such as Entrapment and the Oceans films.
Barbarella (1968)
The second and more recognizable comic book adaptation from de Laurentiis, Barbarella was a super sexy science fiction flick featuring the seductive title character (played by the beautiful Jane Fonda) who thwarts the evil plans of the villainous Durand-Durand. Campy by today's standards, Barbarella is a landmark film that deserves kudos for its tremendous scope and its visionary storytelling. I don't think there would be an Avatar if Barbarella didn't exist.
Serpico (1973)
One of the greatest films of the 1970s and an incredibly controversial true story, Serpico tells of real life NYPD Officer Frank Serpico, who refused to be corrupted by the system and saw his colleagues turn against him as a result of his honest actions. Al Pacino gives a tour de force performance as the tragic titular character and much kudos must go to de Laurentiis (and director Sidney Lumet), who took on a risky subject at a time when New York crime was at its peak.
Death Wish (1974)
Many revenge tales have been told since this classic 70s thriller, but few can compare to its brutality and stone cold protagonist. Charles Bronson stars as Paul Kersey, a Manhattan architect who goes on a killing spree after thugs murder his wife. This flick laid out the formula for the standard revenge story and remains one of the very best. De Laurentiis didn't stick around for the lesser sequels for good reason; none of them hold up quite as well as Michael Winner's original.
Three Days of the Condor (1975)
Going against the proven Bond formula, de Laurentiis produced this paranoia-era spy thriller at a time when shady government deadlings were commonplace. directed by the great Sydney Pollack. Together, they assembled an all-star cast including Robert Redford, Faye Dunaway, Cliff Robertson and Max Von Sydow. The film says worlds about the espionage community and its practices and has influenced the work of Doug Liman and Steven Soderbergh, to name a few.
Ragtime (1981)
Dino deserves a posthumous pat on the back for taking on a tale like E.L. Doctorow's Ragtime. It is such a specific story, era-appropriate costumes and sets needed to be built to recreate 1900s New York City so that the actors could get the feel for the period. Under the masterful direction of Milos Forman, Ragtime was nominated for a whopping eight Academy Awards and though it didn't take any home on Oscar night, the film is undeniably a legendary accomplishment.
Conan the Barbarian (1982)
High brow cinema, this is not, but Conan was an ambitious effort nonetheless. Like Barbarella, Conan opened up a whole new world of adventure for fans of fantasy and science fiction. It is, for lack of a better word, awesome, and gave global audiences the Arnold Schwarzenegger we know and love.
Manhunter (1986)
Not as well known as the other films in the Hannibal Lektor series, this Michael Mann directed original is where the terror began. Most agree that it is scarier even than the Oscar winning Silence of the Lambs, but Dino's vision is what propelled the franchise - and Lektor - to its iconic status. He would go on to produce the sequel Hannibal, the remake Red Dragon and the prequel Hannibal Rising before his death.

The onslaught of "10 Best" list-bound films rounding out the year can only mean one thing: Awards season is on its way.
And the Golden Globes, widely regarded as Oscar's fun-loving cousin and a critical barometer in the Academy Awards race, set its wheels in motion today by giving Al Pacino an offer he can't refuse: The Cecil B. DeMille Award, which honors outstanding contribution to the entertainment field.
At the press conference in Beverly Hills, executive producer Dick Clark also announced actress/model Katie Flynn as this year's Miss Golden Globe.
Pacino, who starred last year in both "The Insider" and "Any Given Sunday," is a 13-time Golden Globe nominee, winning for his leading dramatic roles in "Scent of a Woman" and "Serpico." He has also been up for the Academy Award eight times, finally taking Oscar home in 1993 for "Scent of a Woman." The announcement was made by actress Charlize Theron, who co-starred with Pacino in 1997's "Devil's Advocate."
Previous Cecil B. DeMille recipients include Barbra Streisand, Jack Nicholson, Shirley MacLaine, Dustin Hoffman, Sean Connery, Sophia Loren and Robert Redford.
Katie Flynn Flynn, the daughter of Golden Globe winner Jane Seymour ("Dr. Quinn, Medicine Woman"), will assist during the ceremony, handing out trophies to the winners. She follows a 29-year line of honorees, each a daughter or son of a well-known entertainer with his or her own aspirations in show business.
The 18-year-old Flynn, a student at Columbia University, works as a model but has made appearances in "Dr. Quinn, Medicine Woman," the film "The French Revolution" and the miniseries "War &amp; Remembrance." Previous Mr./Miss Golden Globes include Melanie Griffith, Laura Dern and Freddie Prinze Jr.
The 58th Annual Golden Globe Awards, organized by the Hollywood Foreign Press Association, will announce their nominations on Dec. 21, with the ceremony telecast live on NBC on Jan. 2.

HOLLYWOOD, Feb. 20, 2001 - Latin pop star Ricky Martin is currently in talks to star in "The Assassination," which is being described as a political thriller, The New York Post reports. Martin will also sing the movie's theme song and contribute to the soundtrack.
Filmmaker George A Romero will be directing.
"The Assassination" for Los Angeles-based Highland Crest Pictures. The film centers on the 1961 assassination of Dominican Republic dictator Rafael Trujillo. If Martin's negotiations go as planned, he will play the role of Tavito del al Maza, a noted revolutionary.
A big-name cast, including Oscar nominee Ed Harris, Oscar winners James Coburn and Anthony Quinn and singer Ricky Martin, are in advanced negotiations to participate in the film. According to the Post, Martin's reps said there have been discussions but no commitment from him on the acting side.
"The Assassination," set in the last tumultuous years of Trujillo's regime, will be filmed in Puerto Rico. Shooting is scheduled to begin in April.